Abnormal Attraction


In the land of the blind, the one-eyed man is king.

(2018) Horror Comedy (Random Media) Malcolm McDowell, Leslie Easterbrook, Nathan Reid, Melanie Iglesias, Jason Leavy, Michael Buscemi, Ron Jeremy, Gilbert Gottfried, Tyler Mane, Bruce Davison, Jim Hanks, Carly Brooke, Krista Ayne, Bethany Watson, Courtney Baxter, Rebecca Ruber, Michael Barra, Nicole Balsam, Michelle Taylor, Renae Geerlings, Lesleh Donaldson. Directed by Michael Leavy

 

Prejudice is deeply ingrained into out culture. That which is different than us is generally regarded with deep suspicion, whether a different race, religion or even political affiliation. What about creatures that aren’t even human? What could be more different than that – and how likely would it be, if such existed, that they would be regarded with the most suspicion of all.

In the world of Abnormal Attraction the monsters of myth, legend and literature coexist alongside of humans. Vampires walk the streets at night; werewolves howl at the moon and yeti sell snow cones from ice cream trucks. Nick Lane (Re.id) doesn’t really care about all that; he’s a therapist who deals with interspecies relationships. He’s also engaged to Catherine (Iglesias) although the relationship has hit a bit of a rocky patch. He needs to spend some time with her and he asks his colleague Dr. Stanley Cole (Davison) to take over running an AA meeting for him in order to do that.

But AA doesn’t stand for what you think it stands for – unless you thought it stood for Abnormal Attraction. It’s a 12-step group for humans who are obsessed with other species. Dr. Cole is totally unprepared for the type of stories the participants in the meeting have to tell! In the meantime, Madame Hildie (Easterbrook) and her partner-in-crime the Boogeyman (McDowell) have plans to make the human race go the way of the dinosaur – and monsters will at last rule the earth!

If this sounds like a big budget studio movie with plenty of special effects, well, maybe it should have been. The monster make-up ranges from decent to downright WTF (like the Purple People Eater which looks like a really bad case of the measles) and the Cyclops (Mane) who let’s just say that his curtains don’t match the drapes.

The horror comedy mostly revolves around the scatological and the sexual with the latter dominating. My notes read that this feels like a movie made by 12-year-old boys for 12-year-old boys; Police Academy veteran Easterbrook probably felt right at home. There’s a whole lot of raunchiness and slapstick humor which may or may not appeal to you personally; humor is a highly individual thing and if you like your humor highbrow, this is definitely not the film for you. Truth be told though, I found some of the sequences really funny, like when Frank Stein (Hanks) explains why he doesn’t like to be called Frankenstein. Maybe not comedy gold, but at least comedy bronze.

But the movie’s heart is at least in the right place – there is a message of tolerance and of being non-judgmental that some movies with more intellectual appeal than this failed to get across as well including the most recent Best Picture winner. You could do a lot worse for entertainment value than this as long as you keep your expectations low.

REASONS TO SEE: You can’t fault the filmmakers for lack of ambition, only lack of budget.
REASONS TO AVOID: The humor seems aimed at 12-year-old boys.
FAMILY VALUES: There is plenty of profanity, sexual innuendo and sexual slurs.
TRIVIAL PURSUIT: While on the festival circuit the film was nominated for 24 awards, winning nine of them.
BEYOND THE THEATERS: Amazon, Fandango Now, Google Play, iTunes, Vudu, YouTube
CRITICAL MASS: As of 4/5/19: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING: Cast a Deadly Spell
FINAL RATING: 5.5/10
NEXT:
The Wind

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Dead Ant


Rock on!!!

(2017) Horror Comedy (Cinedigm) Tom Arnold, Sean Astin, Jake Busey, Rhys Coiro, Leisha Hailey, Michael Horse, Danny Woodburn, Sydney Sweeney, Joy Llaye, Natasha Blasick, Michelle Campbell, Angelica Chitwood, Cameron Richardson, Nick Mason, Amber Martinez, Nic Novicki, Ewart Chin, David A. Lockhart, Camilla Jackson, Cortney Palm, Abigail Johns. Directed by Ron Carlson

 

Some movies should be seen in an art house, preferably one with a bar where you can hang out with fellow film buffs and discuss the nuances of the filmmaking you just witnessed – this isn’t one of those. Other movies should be seen in the local multiplexes with lots of popcorn and ice cold soda – this isn’t one of those either. No, this is the type of film that should be seen in a Times Square grindhouse circa 1979 – or in my case, the Jose Theater in downtown San Jose circa 1985.

Aging metal band Sonic Grave hasn’t gotten the memo that the 80s are long over. They’ve essentially made a career milking their one and only hit, a power ballad that now the band detests. They have been just hanging on through the machinations of their ruthless manager Danny (Arnold) but even he knows the band is fast approaching the end of the line. They have one shot at a comeback; a gig at a music festival in the California desert. No, not that one; the organizers of Coachella wouldn’t even take his calls. Instead, they’re going to “No-Chella,” a kind of Slamdance to the better-known festival’s Sundance

Danny knows they need to write some songs that will blow everyone away and get the band’s name known again so he takes the into the desert with a brief pit stop for some shrooms so that the band can get creative. They meet with Native American shaman Bigfoot (Horse) and his bodyguard Firecracker (Woodburn) who I must say has an impressive arsenal. Bigfoot is known for his variety of psychedelic mushrooms called The Moon but he has an even more potent fungus for sale – The Sun. He warns them that while under the influence they must not harm any living thing on the sacred grounds and that the mushrooms must be taken after sundown.

The rockers, being rockers and all, don’t listen and their train wreck of a bass player, Art (Astin) goes out to – um, relieve himself – and drowns a hapless ant in a stream of his own relief. The group, including shrieking singer Merrick (Busey), stoner guitar God Pager (Coiro) and level-headed drummer Stevie (Hailey) as well as two party girls Sam (Sweeney) and Lisa (Llaye) are attacked by ants that grow in size every time the hapless musicians kill one of them. Can these metalheads outwit the giant ants or will they become ant food?

This movie is actually a mash-up of a lot of different kinds of grindhouse films, from giant critter horror to stoner comedy to 80s music videos to psychedelic road trip. It never takes itself completely seriously but it doesn’t fail to deliver the goods either. That’s not to say there aren’t some missteps, but at least they are honestly come by. The movie declares it’s intentions from the very first scene in which a nubile hippie chick is chased through the desert by a gigantic ant. As she flees, she sheds her clothes and throws them in the general direction of the oncoming ant. I don’t know how much more grindhouse a film can get than that. Oddly enough, that is the last nudity seen in the film so arrive at the theater on time for those who are fans of the female form.

Arnold has made a career out of playing the same sort of guy pretty much in every role (which I suspect is pretty much the same guy that Tom Arnold actually is, although not as much of a schmuck). Most of the really funny lines in the movie are his and to his credit he gives it the same kind of effort that he gave in True Lies. That’s what you call a pro, right there.

The movie is filled with the kind of clichés that metal lovers have had to endure for years and I suppose some of them are earned, but there are plenty of people who play and love heavy metal who aren’t dumber than rocks and not all of them have fried their brains with sex, drugs and rock and roll, not necessarily in that order. Some of you fans of the music may find the portrayal of your kind to be wearisome, but I think (I may be wrong about this one) that it is meant in good spirit.

The mainly CGI special effects are cheesy as all get out and that may not necessarily be a bad thing. It at least keeps with the film’s oeuvre. While this isn’t going to break any records for originality, the filmmakers at least have the courage of their convictions and have crafted a pleasant and occasionally charming entertainment that wouldn’t feel out of place in Quentin Tarantino’s VHS collection (if ever a 21st century movie screamed for a VHS release it’s this one) and that’s pretty high praise in my book.

REASONS TO GO: The film is goofy and charming from the get-go.
REASONS TO STAY: The special effects are downright cheesy.
FAMILY VALUES: Where to begin? There’s plenty of violence and gore, a whole lot of drug use, a boatload of profanity, a few horrific images and some nudity.
TRIVIAL PURSUIT: Carlson’s last film was set in a cold climate. Not wanting to undergo that kind of hardship again, he deliberately wrote this film set in a warmer climate.
BEYOND THE THEATERS: Amazon, Fandango Now, Google Play, iTunes, Vudu
CRITICAL MASS: As of 1/27/19: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING: Colossal
FINAL RATING: 6.5/10
NEXT:
How It Ends

Blood Fest


A bunch of friends take a moonlit stroll through the woods.

(2018) Horror Comedy (Cinedigm/Rooster Teeth) Robbie Kay, Seychelle Gabriel, Jacob Batalon, Barbara Dunkelman, Tate Donovan, Zachary Levi, Olivia-Grace Applegate, Owen Egerton, Isla Cervelli, Paul Ogola, Nicholas Rutherford, Samantha Ireland, Tristan Riggs, Rebecca Lynne Wagner, Chris Doubek, Carl Thomas, Lynn Andrews III, Jessica Polk. Directed by Owen Egerton

 

Horror has rules. That has been drilled into the heads of fans throughout the annals of horror films; at least since Wes Craven’s Scream outline most of them for us. Still few genres have as much structural similarities between films as horror does. That has made for some pretty nifty self-referential meta films that remind us that virgins have a better chance of survival and never ever go into the basement by yourself.

Dax (Kay) loves horror movies, a love instilled by his mother (Ireland) who promised him that horror movies give us the opportunity to realize that we are stronger than our own films. Of course, she tells him that moments before she is brutally murdered by one of her husband’s (Donovan) patients who has a similar love for scary movies.

Flash forward fifteen years and Dax is eager to go to a major horror event called Blood Fest promising haunted attractions, panel discussions with filmmakers and horror icons, and a rave-like atmosphere with a horror movie theme. However, his dad won’t allow it (and tears up his precious ticket before his very eyes after a similar warning from his sister (Wagner): “Blood Fest is going to suck.” Little does he know how right she is.

Dax manages to get his hand on a precious wristband and makes it in for the big event and at first it’s everything he hopes it would be as he and his best friends Sam (Gabriel) and hacker Krill (Batalon) at his side. The MC is a well-known horror producer (Egerton) but he has plans for the revelers. You see, the horrors at Blood Fest are real and it will take all of their knowledge of the rules of horror films along with all their resourcefulness and courage to survive the night.

I’m not a big fan of horror comedies. Few of them succeed in balancing the screams with the laughs and this one is no exception but it is more successful than most. The fact is that they don’t go for the over-the-top laughs that bring the comedy into spoof territory, and spoofs are as far as I’m concerned the lowest form of cinematic humor. The scares are never particularly over-the-top either but there’s enough energy in the pacing and from the performers that the movie keeps your attention other than a few points where some exposition is going on.

The performances by the fairly low-budget cast are solid and professional. Chuck star Zachary Levi (also from the upcoming Shazam) has a thoroughly enjoyable albeit brief cameo, while the female cast is mega-sexy without any nudity which is quite a feat when you consider there’s at least one obligatory shower scene and a lesbian vampire make-out scene. Still, that’s just further proof that a woman doesn’t have to show her boobs to be sexy.

The writing is a bit spotty; the reveal is early on in the movie and while the mysterious partner behind the murders is kept hidden until near the end (and veteran horror fans should be able to figure out well before then) and while some of the plot points stretch the boundaries of plausibility to the breaking point (and beyond), for he most part the writing is pretty decent for this kind of film. The dialogue sounds authentic and there is a good deal of affection for the genre and those who love I – and obsess over it. This is a pleasant gem that will probably find a long shelf life on VOD and home video.

REASONS TO GO: Entertaining and generally well-paced.
REASONS TO STAY: A few plot points lack cohesion.
FAMILY VALUES: There is plenty of violence and gore, a good deal of profanity and some sexual innuendo.
TRIVIAL PURSUIT: Rooster Teeth is a content supplier mainly for YouTube; this is their third feature after Lazer Team and Lazer Team 2. It is actually however the second film released as Lazer Team 2 hasn’t yet received a release date.
BEYOND THE THEATERS: Amazon, Fandango Now, iTunes, Vudu
CRITICAL MASS: As of 9/1/18: Rotten Tomatoes: 58% positive reviews: Metacritic: 54/100.
COMPARISON SHOPPING: Scream
FINAL RATING: 6.5/10
NEXT:
Support the Girls

Mom and Dad


Nicolas Cage just wants to have a chat.

(2017) Horror Comedy (Momentum) Nicolas Cage, Selma Blair, Anne Winters, Zackary Arthur, Robert Cunningham, Olivia Crocicchia, Lance Henriksen, Marilyn Dodds Frank, Samantha Lemole, Joseph D. Reitman, Rachel Melvin, Bobby Richards, Sharon Gee, Edwin Lee Gibson, Brionne Davis, Mehmet Oz, Grant Morrison, Bokeem Woodbine, Adin Alexa Steckler, Lorena Diaz. Directed by Brian Taylor

 

Most parents, at one time or another, want to kill their children. Not literally of course; it’s just that sometimes the frustrations of parenting (particularly with teens) can give rise to a fantasy of genuine mayhem against our offspring. It isn’t something parents like to admit but it is perfectly normal for, once in awhile, for parents to absolutely hate their offspring.

From all outward appearances, the Ryan family seems to be perfectly harmonious. A poster family for suburban bliss, the family is anything but behind closed doors. Father Brent (Cage) is stressed at work and is mystified as to how to handle his two children; mother Kendall (Blair) feels underappreciated and her relationship with daughter Carly (Winters) has completely disintegrated. Carly steals money from her parents, lies to them consistently and is basically the kind of teen that whines consistently about her parents but acts like an absolute bitch to them at every turn. Finally youngest Josh (Arthur) acts out and at 10 seems to have the issues of someone much older. Oh joy, right?

Then something weird happens. All over town, parents get a sudden irresistible urge to kill their own children. Not their grandchildren, not their nieces and nephews, not the neighbor’s kids, just their own offspring. And they aren’t out to off them in humane ways; the more bloodshed and violence, the better.

Carly, knowing her young brother is in mortal danger, rushes home to keep him safe in a rare and unexpected case of actual feelings for someone other than herself, but both parents are home and the two kids have to barricade themselves in various rooms in order to survive. That’s when Brent’s parents (Henriksen, Frank) arrive for a previously planned dinner…

Nobody plays manic like Nicolas Cage plays manic. As such this is pretty much the perfect role for him; he goes from playing father of the month (definitely not of the year) to a crazed homicidal maniac often in mere seconds. Some folks give Cage a whole lot of grief about his career choices but this shouldn’t be an occasion for that. He’s clearly having fun onscreen – he has stated in interviews that this was the most fun he’s had making a movie in more than a decade – and that enjoyment shows through. This isn’t just the most fun he’s had in ten years but maybe his best performance in that time, although there are a couple that give him a run for his money such as his 2013 drama Joe.

Most of the rest of the cast can’t stand up to Hurricane Cage although Blair gives a magnificent effort. Winters plays Carly a bit too well – she’s such a nightmare at the start of the movie that one actively roots for some kind of strange virus that will compel her parents to kill her horribly…oh, good. That makes it harder to buy her abrupt personality change once the carnage begins.

However, the real star here is Taylor, who along with sometime partner Mark Neveldine delivered the Crank films. Like those action comedies, the pacing is breakneck – at least once the mayhem starts – and the mayhem is cleverly done. Some might find it a little bit gruesome and more than a few will be completely affronted by the subject matter.

If you take it in the spirit in which it’s meant, Mom and Dad is an exceptionally entertaining film despite its blackest of black humor. There are some issues with the writing – a lot of the scenes seem disconnected from one another rather than flowing harmoniously as a story. Taylor also uses a fade to black with such regularity that it becomes completely annoying. However, these are mainly minor little faults  in what is a thoroughly enjoyable parental fantasy that may allow parents having a difficult time with their progeny to blow off some much-needed steam.

REASONS TO GO: Cage is at his twitchy best. The gore and violence have a great sense of black comedy. There’s no rhyme or reason to this but there doesn’t need to be. The film starts a bit slowly but once it gets going the pacing is non-stop.
REASONS TO STAY: Carly is such a nightmare teen you hope she gets horribly murdered. The scenes seem to be disconnected from each other.
FAMILY VALUES: There is a ton of violence, some of it extreme; there’s also plenty of profanity, some sexuality and drug content involving teens.
TRIVIAL PURSUIT: The movie was filmed largely in Louisville, Kentucky.
BEYOND THE THEATER: Amazon, Fandango Now, Google Play, iTunes, Vudu, YouTube
CRITICAL MASS: As of 3/718: Rotten Tomatoes: 74% positive reviews. Metacritic: 58/100.
COMPARISON SHOPPING: The Crazies
FINAL RATING: 7.5/10
NEXT:
Get Me Roger Stone

Vampire Cleanup Department (Gao geung jing dou fu)


There’s nothing like a nice refreshing dip in an acid pool.

(2017) Horror Comedy (Media Asia) Babyjohn Choi, Min Chen Lin, Siu-Ho Chin, Richard Ng, Hok-chi Chiu, Meng Lo, Susan Yam-Yam Shaw, Cheng-Yan Yuen, Jim Chim, Eric Tsang. Directed by Sin-Hang Chiu and Pak-Wing Yan

Budding filmmakers, here is something to consider: everybody loves a secret agency that protects its citizens from supernatural threats – or at least a high enough percentage of everybody that you’re likely to get a whole lot of buzz.

Tim Cheung (Choi) is something of a clumsy nebbish. An orphan, he was brought up by his grandma who often confuses him with his deceased father. One night, he sees someone being attacked in an alleyway and tries to help; instead, he is bitten on the behind by a strange creature.

That creature turns out to have been a vampire. When Tim wakes up, he’s in the underground headquarters of the Vampire Cleanup Department, a secret government agency that takes on the nosferatu of Hong Kong. Among those who work for the VCD are his Uncle Chung (Ng), the head of the department as well as his Uncle Chau (Chin) who is the martial arts master of the group. There’s also Ginger (Yuen), a priest who is the master of the amulets that freeze the undead among other things; there’s also Tai Gau (Lo), the weapons master.

On Tim’s first mission, he gets dragged into a lake that had once been farmland and is kissed by a rotting vampire. The vampire’s rotting flesh sloughs off, revealing a beautiful young girl. Summer (Lin) was a 20-year-old girl whose Landlord had her buried alive with him when he died; the Landlord was a vampire and the living girl had become one due to her unjust death. Like most vampires, she can only hop around rather than walk or run. The others order Tim to immolate Summer in their furnace but Tim, seeing the tears flowing from the undead girl’s eyes hides her instead. The two soon fall in love. He grows to believe that she is not evil; that she is in fact a rare human vampire who might be able to learn how to become human again.

It’s a bad time to fall in love with the undead; there is an ambitious police officer who wants to take away the undead gig from the VCD and has his American scientist find a way to destroy the vampires scientifically. It is also very nearly time for the blood moon during which time the Landlord vampire can resurrect himself. What’s a nerdy vampire hunter to do?

For fans of classic Hong Kong cinema, particularly the hopping vampire genre, your ship has come in. This is an amazingly entertaining but lightweight homage to those films of yore such as Mr. Vampire – many of the cast have made appearances in one hopping vampire film or another. This is more of a romantic comedy than outright horror; while there are some gory images, they are relatively few in number and the bulk of the story is concentrated on the romance between Tim and Summer.

This is very much a guilty pleasure, with cheesy special effects and comedy that falls on the silly side but it has charm by the bucketful. One can’t help but root for Tim despite his hangdog demeanor and his somewhat klutzy cluelessness. It is well above the Abbott and Costello horror spoofs and way above the more modern Scary Movie-type abominations. After viewing it, I was thinking this is what a Hong Kong hopping vampire film might look like if produced by Kevin Feige and directed by Guy Ritchie – although you might have to twist yourself sideways to see the Ritchie reference (I was thinking of the Sherlock Holmes films).

The mythology behind the Vampire Cleanup Department itself is solid and has the kind of detail normally reserved for comic book adaptations. Think of these guys as the Avengers of hopping vampire hunters with a Shaolin twist. Who can’t love vampire hunters who are disguised not in dark suits but in rubbish collector vests? Some of the humor is downright subversive if you can get past the pratfalls. I love that the voice of Summer is essentially Siri after she swallows Tim’s smart phone.

There are a few missteps. Some of the intentional cheesiness is perhaps a mite too cheesy for Western audiences. Some of the externally filmed scenes at night are way too murky and were hard to make out and while the Siri-voiced Summer conceit is cute, the Malaysian pop star Lin actually has a very naturalistic delivery and I thought the film might have benefited from more dialogue from her.

This may end up being my favorite movie from this year’s New York Asian Film Festival, which is saying something because this was a particularly bumper crop of fascinating films for the festival which has become more and more influential in the past few years. It isn’t going to change anyone’s point of view or educate them all that much on conditions in Asia but it is going to entertain the ever-loving heck out of you and that’s a lot more than many of this year’s summer blockbusters can claim.

REASONS TO GO: Although this is a bit on the cheesy side it’s nevertheless supremely entertaining. The background mythology is solid. Choi is ideal for the handsome nerd role. It reminded me of a Guy Ritchie film in a kind of twisted way.
REASONS TO STAY: Some of the humor is a bit overly silly for Western tastes. The special effects are definitely cheesy and some of the outdoor night scenes are a bit hard to see.
FAMILY VALUES: There is some horror violence (some of it comedic) as well as bits and pieces of gore.
TRIVIAL PURSUIT: Cheng-Yan Yuen, who plays the priest Ginger, is the brother of legendary stunt choreographer Woo-Ping Yuen.
CRITICAL MASS: As of 7/16/17: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: The Fearless Vampire Killers
FINAL RATING: 8/10
NEXT: Birthright: A War Story

An American Werewolf in London


Don't you just hate it when you wake up naked in the woods?

Don’t you just hate it when you wake up naked in the woods?

(1981) Horror Comedy (Universal) David Naughton, Jenny Agutter, Griffin Dunne, Frank Oz, Don McKillop, Paul Kember, Michele Brisgotti, Mark Fisher, Gordon Sterne, Paula Jacobs, Nina Carter, Geoffrey Burridge, Brenda Cavendish, Michael Carter, Lila Kaye, Paddy Ryan, David Schofield, Brian Glover, Sean Baker, Rik Mayall, John Woodvine, Anne-Marie Davies. Directed by Jon Landis

sixdays2016-5

In the early 1980s the werewolf genre underwent something of a renaissance, with gaggles of new films that redefined the genre, including The Howling, Wolfen, Teen Wolf and this horror comedy. Landis, the director of Animal House, used the excessive gore of the period to offset the droll comedy which mostly was character-driven and while it wasn’t a huge hit, it has become an iconic film of its era.

David Kessler (Naughton) and his buddy Jack Goodman (Dunne) are on a walking tour of Northern England. The weather is cold (it’s England, after all) and the hospitality less than exemplary. As they walk out on the moors after an unsettling experience in the pub of a small village, they are attacked by an extraordinarily large wolf. Jack is killed and David badly injured.

David is brought to a London hospital where he is befriended by nurse Alex Price (Agutter) who once David is discharged, puts him up in her apartment since he literally has nowhere else to go. Soon David begins to have disturbing visions and unexplained things begin to happen to him. He wakes up naked in the zoo in an exhibit of wolves, for example, with no memory as to how he got there.

Worse, he’s seeing visions of his buddy Jack who informs him that they weren’t attacked by an ordinary wolf – it was a werewolf that killed him and now David has become one himself. He is also being haunted by the ghosts of his victims who are urging him to kill himself. David is understandably reluctant to do it – he and Alex have fallen deeply in love, after all, and he has a lot to live for but his new condition could endanger the life of the woman he loves. What is he to do?

This is in every sense of the word a horror classic. It is terrifying throughout and even though Landis keeps a light touch, there is always that air of menace and impending tragedy hanging over the entire film. He sets up the werewolf kills beautifully and doesn’t imbue them with camp. Landis clearly has a deep respect for not only the Universal horror films that inspired this but also the British Hammer horror films, although curiously the things that are Hammer-inspired tend to work the least well in the film.

Naughton at the time was best known for a series of commercials for Dr. Pepper in which he danced and sang “I’m a Pepper, he’s a Pepper, She’s a Pepper, We’re a Pepper, Wouldn’t you like to be a Pepper too? Dr. Pepper, drink Dr. Pepper…” Look ‘em up on YouTube if you want to see them. At the time they were pretty popular. There were some who thought he was destined to be a huge star, but it didn’t happen – this was really the nadir of his acting career. Still, he acquits himself well and makes a pretty solid tragic hero. He’s no Lon Chaney however.

Agutter, an Australian actress who also had some notoriety playing the romantic lead in Logan’s Run five years earlier is also strong in her performance. While people scratched their heads that a seemingly pragmatic nurse would invite a total stranger to live with her after knowing him only as a patient (hey, it was a different era), the character is strong and sexy.

Dunne – who went on to a career as a pretty decent director – gets the lion’s share of the great lines. Most of his screen time takes place after he’s dead and it’s a bit of an in-joke that with each scene his appearance gets more and more gruesome. Jack and David have a bit of an early bromance going on and the interactions between them feels natural and unforced; it’s one of the best attributes of the film.

The gore here can be over-the-top, particularly for modern audiences that really aren’t used to it. People sensitive to such things are advised to steer clear; although the comedy does offset it somewhat, some of the scenes of mayhem and murder are pretty intense. The transformation scene in which David morphs into becoming a werewolf is absolutely amazing – even 35 years later. It is one of the best sequences of it’s kind ever filmed and in many ways is the crowning achievement of the great Rick Baker’s career and one in which he deservedly won an Oscar for.

I watched this again recently and have to admit that it actually holds up pretty well. A lot of movies from that era feel dated, but this one is pretty timeless. It remains one of those movies that pops up every so often and when you re-watch it, you wonder why it’s been so long since you’ve seen it. There are a few who don’t care for the film but it remains a favorite for a lot of horror buffs and cinema fans to this day.

WHY RENT THIS: The by-play between Naughton and Dunne is realistic and fun. The film’s transformation scene is perhaps the best ever filmed. Naughton and Agutter give credible performances.
WHY RENT SOMETHING ELSE: The Hammer horror influences don’t really fly as well as they might.
FAMILY VALUES: Plenty of violence/gore, disturbing images, sexuality, foul language and adult themes.
TRIVIAL PURSUIT: This was the first film to win the Academy Award for Best Make-up Effects, a category established in 1981. It remains the only film directed by Landis to win an Oscar.
NOTABLE HOME VIDEO EXTRAS: The original 2001 DVD includes outtakes (without sound) and interviews with Landis and Baker. The 2-Disc Full Moon Collector’s Edition DVD from 2009 as well as the Blu-Ray includes a featurette on Baker and the documentary Beware the Moon in addition to the original content.
SITES TO SEE: Netflix (DVD/Blu-Ray Rental only), Amazon, iTunes, Vudu
BOX OFFICE PERFORMANCE: $62M on a $10M production budget.
COMPARISON SHOPPING: The Howling
FINAL RATING: 8.5/10
NEXT: Six Days of Darkness concludes!

Ghost Team


Things are looking up for the Ghost Team.

Things are looking up for the Ghost Team.

(2016) Horror Comedy (The Orchard) Jon Heder, David Krumholtz, Justin Long, Melonie Diaz, Amy Sedaris, Paul W. Downs, Tom Schiller, Joel Marsh Garland, Doug Drucker, Rob DeRosa, Martin Barabas, Clem McIntosh, Shane Velez, Vincenzo Vaccaro, Veronika Dash. Directed by Oliver Irving

 

For the most part, we’re all fascinated by the paranormal. Who doesn’t want to see proof of life after we pass on? The existence of ghosts certainly is one of those things that have fascinated us for centuries, and yet for the most part, ghosts still remain essentially mythical figures. That doesn’t mean we haven’t stopped searching for definitive proof of their existence.

Plenty of television programs have documented the search of paranormal investigation teams. One of the most well-known is Ghost Getters which copy store clerk Louis (Heder) watches religiously. When the team puts out the call for a new member, Louis is psyched to apply, but he wants to stand out – by conducting his own investigation.

It’s hard to do when one’s day is mostly spent printing Lost Dog fliers. However when a curmudgeonly old man looking to get some laminated No Trespassing signs printed up lets slip that the barn on his property is “probably haunted,” Louis realizes this is the break he’s been waiting for. He ropes in his sad-sack best friend Stan (Krumholtz) who was left at the altar and thinks the only explanation for it was that his bride-to-be was kidnapped by aliens. They need a computer whiz and happen to know one who works at Micro World, Zak (Downs). When a late night run to “borrow” some equipment from Micro World ends up in a confrontation with gung-ho security guard Ross (Long), the team has their security chief. They enlist phony baloney TV psychic Victoria (Sedaris) and to round out the team, Ellie (Diaz) who works as a beautician in the shop next door to Louis and whose job is to….well, crap, I’m not really sure.

The intrepid erstwhile paranormal investigators who have christened themselves the Ghost Team head out to the barn to conduct their audition but when they arrive, they realize they’ve stumbled onto something that they simply weren’t prepared for. Will the Ghost Team’s first case also be their last?

The field of paranormal investigation shows has been ripe for a comedy to be based on it (although some would say that the original Ghostbusters was kind of a preemptive strike in that general direction). Certainly the movie takes aim at shows like SyFy’s venerable Ghost Hunters, which the fictional Ghost Getters is essentially based on as are many other like-minded shows all over cable television.

But sadly, the movie devolves into a kind of live action Scooby Doo minus the talking dog although it does have a van not unlike the Mystery Machine. How it does that I will not tell you, but suffice to say that those who grew up on that show will undoubtedly make that connection. I don’t have an objection per se only that the tonal shift doesn’t work here; they needed a better transition.

Heder has always been a bit too laid-back for my taste as an actor but the more he moves away from his Napoleon Dynamite past the better I like him and this is certainly a step in that direction. Like most of the characters here, Louis isn’t the brightest bulb in the chandelier but he certainly means well and that’s the kind of thing that’s right in Heder’s wheelhouse. He gets some superb support from Sedaris as the fake psychic who can’t believe that anybody buys her particular brand of B.S. and Diaz as an atypical damsel in distress. Long is terribly miscast as a security guy who seems to be suffering from Roid Rage.

Inexplicably, the movie uses Gary Wright’s 70s synthpop hit “Dream Weaver” to almost annoying extent. It was one of my favorite songs growing up but let’s face it; it’s not the kind of song you need to hear more than once on any movie soundtrack. The most genuinely scary moment in the film is when the Ghost Team sings along to the music.

And therein lies the rub; for a horror film, there aren’t any scares; for a comedy there aren’t many laughs. It tries to be both and ends up being neither. Part of the problem is that the writer doesn’t appear to be sure just what he wants this movie to be and what it ends up feeling like is a bunch of zombies wandering around aimlessly, calling pathetically for brains and this is not a movie that has (or should have) a lot of them. All the right ingredients are here for a good little film, but sadly, it ends up tasting rather bland.

REASONS TO GO: A cross between Ghost Hunters and Scooby-Doo. Heder is at his most likable here.
REASONS TO STAY: Official overuse of Gary Wright’s “Dream Weaver” on the soundtrack. It gets overly juvenile in places. The action sequences are unconvincing. There aren’t enough laughs.
FAMILY VALUES: There is a bit of profanity, some sexual references and some drug material as well.
TRIVIAL PURSUIT: The movie was available for streaming free on Google Play before it’s limited theatrical run. It will continue on Google until the end of August after which it will be available on other streaming sites.
BEYOND THE THEATER: Google Play
CRITICAL MASS: As of 8/13/16: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: Ghost Team One
FINAL RATING: 4/10
NEXT: Star Trek Beyond